Vastu-shastra (Vol. I: Hindu Science of Architecture; Vol. II: Hindu Canons of Iconography and Painting) v2.c78.s2.22

v2.c78.s2.22

**Process.**--One of the most popular pictorial ornamentation in those prosperous days was Patrālekhana—drawing lines with a dark colour on a light background and the background was generally white sandal paste smeared lightly over the body—and our poet fully mirrors this process in the Raghu. (11). Again the background process as well as the paste in this process varied also, *i. e.* Śuklāguru for the background and Gorocana and Dhāturāga for drawing the lines. Further again from the Sākuntalam (12), we get an evidence that the most important factor in drawing a picture is the conception of it what is called here ‘Manasākṛtā’. The use of Vartikā in drawing the picture is also there--vide Agnivarṇa's sketches of his amorous dancing girls. Kumārasambhava (13), further provides a very valuable information of the final touches in picture-drawing what is technically called ‘Citra-unmīlan’ like ‘nayanonmīlana of an image (vide Mānasāra) and it was done with a very delicate brush known as Tūlikā.